Performance art Books

Book SynopsisThis much-needed book introduces readers to the related fields of expertise, creativity, and performance, exploring our understanding of the factors contributing to greatness in creative domains.Bringing together research from the fields of creativity and expertise, it provides fresh insights for newcomers and seasoned scholars alike with its approachable guide to the multidimensional complexities of expertise development. It transcends traditionally studied fields such as chess, sports, and music, instead exploring the intersection of expertise with creativity and the performing arts. Dedicated applied chapters cover eight fields, including mind-games, music, dance, creative writing, acting, art, and STEM. The book also examines the facilitators of creative performance, including aesthetic sensitivity, creativity, and mental imagery, as well as the obstacles to performance, such as burnout, procrastination, and gender-related challenges. The book concludes by engaging with p

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Book SynopsisLives in Motion celebrates dance in Thailand, focusing on the diversity of Thailand's dance cultures and their place in today's world. Giving voice to eminent artists and scholars on the complex roles that Thailand is pursuing for artful movement at home and abroad, the book provides key perspectives on Thai dance traditions and practitioners. It explores the many forms and meanings in contemporary dance, changing local traditions in the country, the evolution of Thai dance on the global stage, and hybrid features of the Thai dance world.The book examines how hybridity has been integral to dance cultures in Thailand and discusses how they have actively adapted and negotiated their knowledge in relation to modernity and globalization. Developing new models, standards and sites for dance, movement and theater, dance in Thai has been advancing in innovative ways, whether it is to include fresh forms of skilled bodily movement or to expand in new arenas like tourism and Table of ContentsList of Figures viiContributors xForeword xivAcknowledgments xvi1 Introduction: Dancing in Thailand 1PORNRAT DAMRHUNG AND LOWELL SKAR2 Remembering Contemporary Thai Dance with an Eye to Its Futures 17SURAPONE VIRULRAK3 Unseen Thailand: Exploring the Hidden Lives of Dance in Contemporary Thai Culture 31PORNRAT DAMRHUNG4 Lakhon Phanthang: Thai Hybrid Dance Drama on the International Stage in the Early 20th Century 47PAKAMAS JIRAJARUPAT5 Reimagining Classical Thai Dance for the 21st Century: The Evolution of Pichet Klunchun’s “No. 60” 65LOWELL SKAR6 A Glocalized Tradition: Worldly Currents of Nora in Southern Thailand 81KANIT SRIPAORAYA7 Made to Order: Corporeality and Community in the Contemporary Isan Dancing Body 97TANATCHAPORN KITTIKONG8 Preparing BFA Students for a Life in the World of Dance: Thai University Pedagogies 111SUPHANNEE BOONPENG9 Lanna Dance Now: Our Moves with Contemporary Northern Thai Performance Cultures 125SARAN SUWANACHOTE, RONNARONG KHAMPHA, AND WAEWDOW SIRISOOK10 B-Floor’s Moves on the Contemporary Stage 141JARUNUN PHANTACHAT11 My Improbable, Extraordinary West-East Dance Life 156BENJAMIN TARDIF12 Dance Dreams Realized: My Journey from a Bangkok Dance School to New York’s Dance Theater World (and Back Again) 171NAPAT RODBOON13 Artists’ Interviews 186LOWELL SKAR AND PORNRAT DAMRHUNG14 Glossary of Terms Relevant to Dance in Thailand 225PORNRAT DAMRHUNG AND LOWELL SKARIndex 237

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Book SynopsisThis book examines performance practices that involve people in recovery from addiction, theorising such practices as recovery-engaged.Focusing on examples of practice from a growing movement of UK-based recovery arts practitioners and performers, it highlights a unique approach to performance that infuses an understanding of lived experiences of addiction and recovery with creative practice. It offers a philosophy of being in recovery that understands lived experience, and performance practice, as a dynamic system of interrelations with the human and nonhuman elements that make up the societal settings in which recovery communities struggle to exist. It thereby frames the process of recovery, and recovery-engaged performance, as an affective ecology a system of messy connections. Building upon ideas from posthumanist research on addiction, cultural theory on identity and new materialist interpretations of performance practice, it considers how such contemporary theory might

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Book SynopsisThis study positions four musicals and their associated artists as mobilizers of defiant joy in relation to trauma and healing in Puerto Rico. This book argues that the historical trajectory of these musicals has formed a canon of works that have reiterated, resisted or transformed experiences of trauma through linguistic, ritual, and geographic interventions. These traumas may be disaster-related, migrant-related, colonial or patriarchal. Bilingualism and translation, ritual action, and geographic space engage moments of trauma (natural disaster, incarceration, death) and healing (community celebration, grieving, emancipation) in these works. The musicals considered are West Side Story (1957, 2009, 2019), The Capeman (1998), In the Heights (2008), and Hamilton (2015). Central to this argument is that each of the musicals discussed is tied to Puerto Rico, either through the representation of Puerto Rican characters and stories, or through tTable of ContentsAcknowledgmentsIntroduction Chapter 1: Bilingualism and Translation as Caring Performance Chapter 2: Caring Performance in Public Art Chapter 3: Spaces of Care Chapter 4: Transforming Disaster through Defiant JoyAfterword Index

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Book SynopsisThis accessible book outlines the key ideas that define the global phenomenon of applied theatre, not only its theoretical underpinning, its origins and practice, but also providing eight real-life examples drawn from a diversity of forms and settings.The clearly arranged topic sections entitled When, What, Who, Why and Where emphasise the responsive nature of applied theatre, its social context and the importance of a beneficial outcome for participants, which can connect fields as disparate as health, criminal justice, education and migration. Labels and terms are explained, along with applied theatreâs core values, motivations and objectives, allowing the reader to build a coherent understanding of its distinguishing features.Applied Theatre: The Key Concepts is aimed at students, academics, artists and practitioners of applied theatre as well as those with an interest in this vital blend of social and creative practice.

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Book SynopsisThis volume explores connections between architecture and theatre, and encourages imagination in the design of buildings and social spaces.Imagination is arguably the architect's most crucial capacity, underpinning memory, invention, and compassion. No simple power of the mind, architectural imagination is deeply embodied, social, and situational. Its performative potential and holistic scope may be best understood through the model of theatre. Theatres of Architectural Imagination examines the fertile relationship between theatre and architecture with essays, interviews and entr'actes arranged in three sections: Bodies, Settings, and (Inter)Actions. Contributions explore a global spectrum of examples and contexts, from ancient Rome and Renaissance Italy to modern Europe, North America, India, Iran, and Japan. Topics include the central role of the human body in design; the city as a place of political drama, protest, and phenomenal play; and world-making throTrade Review'Readers in architecture, theater, anthropology, philosophy, and other fields will discover here not only the interdependencies of these disciplines, but their roles in the configurations of imaginings that endow human life with its most eloquent communications. Face-to-face, hand-to-hand, at rest or while moving, dramatic actions performed spontaneously or seasonally, in houses or on streets, are shown to situate and orient us in the world, as we alternately succeed and struggle with interpersonal and environmental justice.' David Leatherbarrow, Emeritus Professor, University of Pennsylvania, USA 'This collection establishes embodied architecture as an essential theatrical, imaginative and compassionate practice. The sacred, the magical and the political appear with surprising architectural relevance and dramatic force. The scholarship is impeccable; the stories engaging and inspiring.' Marcía Feuerstein, Associate Professor at Virginia Tech’s School of Architecture, Washington Alexandria Architecture Center, USA and co-editor of Architecture as a Performing Art, among other publications'From the performativity of public spaces to theaters of the world reinterpreted as eco-ethical dramas, this highly original book puts into play new notions of memory theater for contemporary architectural discourse. Critical examples from antiquity to post-colonial contexts provide timely reflections that will enliven readers’ architectural imagination.' Federica Goffi, Professor of Architecture, Carleton University, Canada and editor of Marco Frascari’s Dream House: A Theory of Imagination, among other publicationsTable of Contents1. Introduction Part 1: Bodies 2. The dramatization of architecture: bodies in the drawings of Álvaro Siza 3. Die Turnstunde: Hans Hollein’s museum performing itself 4. Theatrical metaphors in Bruno Schulz’s prose: a play of imagination for potential architecture 5. Lecoq's Mimodynamics for architects: practicing a renewal of architectural imagination 6. Projecting the eccentric theatre: representations of the synesthetic experience at the Bauhaus 7. Performing the common: political imagination of protest in place Entr’acte A Constructing table – between anamorphic disguise and dissection: a polyphonic drawing experiment Part 2: Settings 8. Roman theatre’s scaenae frons as a thematic edifice 9. A Question of décor: political theatre in Renaissance Ferrara 10. Public spaces as theatres of action: Lawrence Halprin’s phenomenological perspective on cities 11. "The play’s the thing": on theatricality and modern public space 12. Imagining a participatory theatre in Ahmedabad 13. Relations among things: Aldo Rossi and Seville’s Semana Santa Entr’acte B Manifestos on architecting social imaginaries A Good Host Black Box of Imagination: deconstructing the notion of theatres of imagination Part 3: (Inter)Actions 14. A Tale of two foyers: on space between thresholds 15. The palace and the plaza: a post-war convergence 16. A delegated performance for public space: The Mile Long Opera 17. Monsters of architecture and the magical function of theatre: a look at Balinese temples 18. An encounter with wholeness: Vis and Ramin at Persepolis Entr’Acte C Drumming in the hall of the mountain 19. Earthly theatres: moving grounds, suffusing airs, sentient surrounds 20. Janus / In Time: universal openings via live arts – theatre, dance and architecture

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Book SynopsisThis collection of original essays brings together museum, theatre, and performance case studies with a focus on their distinctive and overlapping modes of producing memory for transnational audiences.Whether this is through narrative, object, embodied encounter or a combination of the three, this volume considers distinctions and interactions between memory and history specifically through the lenses of theatre and performance studies, visual culture, and museum and curator studies. This book is underpinned by three areas of research enquiry: How are contemporary theatre makers and museum curators staging historical narratives of difficult pasts? How might comparisons between theatre and museum practices offer new insights into the role objects play in generating and representing difficult pasts? What points of overlap, comparison, and contrast among these constructions of history and memory of authoritarianism, slavery, colonialism, genocide, armed conflict, fascism, and coTable of Contents1. Staging the Story of a People: The Politics of Co-Performance at the National Museum of African American History and CultureJordan Ealey and Leticia Ridley2. Theatricality & Spectacle: The Museum as ObjectBryce Lease3. Curating the Experiential: The Imperial War Museum’s Revised Holocaust Galleries.James Bulgin in conversation with Bryce Lease4. The Meaning of Working Through the Past: Of Awkward Objects and Collateral MemoriesMichal Kobialka5. On Crying Perpetrators and Subversive Laughter: Trans-Affiliative Encounters inside ESMA Memory MuseumCecilia Sosa6. Refracting Difficult Pasts: Temporal Answers and the In-Between.Rabih Mroué in conversation with Michal Kobialka7. Listening to the museum, hearing the mine: Mapa Teatro’s live réplica to modernityGiulia Palladini8. Showcasing Anti-colonial Nationalist Struggles: Museums and Theatre in ContestationBishnupriya Dutt9. ‘It’s art, all it can do is bear witness’: Remembering Histories of Enslavement in Black British Women’s Plays and at the International Slavery MuseumLynette Goddard10. Chile’s Museum of Memory and Human Rights: Long Life to the Theatre!Milena Grass Kleiner and Mariana Hausdorf Andrade11. On the Making of the Oratorio for the DisappearedErika Diettes in conversation with Vikki Bell12. Enforced Disappearance and Silenced Histories: Pedro Almodóvar’s Madres paralelas/Parallel Mothers (2021)Maria M. Delgado13. What Remains: Staging Memory of Enslavement in the Western CapeNadia Davids and Jay Pather in conversation with Bryce Lease14. Marketing a Massacre: When Outdoor Dramas Become Dark TourismKatrina Phillips15. Epilogue - 10 Strategies for Exhibiting Absence & Loss: Objects, Narratives and Trauma on DisplayJoanne Rosenthal

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Book SynopsisMost writers, composers, librettists, and music directors who make their careers in musical theatre do so without specific training or clear pathways to progress through the industry. Conversations with Women in Musical Theatre Leadership addresses that absence by drawing on the experiences of these women to show the many and varied routes to successful careers on, off, and beyond Broadway. Conversations with Women in Musical Theatre Leadership features 15 interviews with Broadway-level musical theatre music directors, directors, writers, composers, lyricists, stage managers, orchestrators, music arrangers, and other women in positions of leadership. Built around extensive interviews with women at the top of their careers in the creative and leadership spheres of musical theatre, these first-hand accounts offer insight into the jobs themselves, the skills that they require, and how those skills can be developed.Any students of musical theatre and stagecraTable of Contents1. The State of Things 2. The Writers 3. The Music Team 4. The Director-Choreographers 5. The Producers 6. The Management 7. The Resources

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Book SynopsisThe Routledge Companion to the Anthropology of Performance provides a cutting-edge, comprehensive overview of the foundations, epistemologies, methodologies, key topics and current debates, and future directions in the field. It brings together work from the disciplines of anthropology and performance studies, as well as adjacent fields. Across 31 chapters, a diverse range of international scholars cover topics including: Ritual Theater Storytelling Music Dance Textiles Land Acknowledgments Indigenous Identity Visual Arts Embodiment Cognition Healing Festivals Politics Activism The Law Race and Ethnicity Gender and Sexuality Class Religion, Spirituality, and Faith Disability Leisure, Gaming, and Sport In addition, the included Appendix offers tools, exercises, and activitiesTable of ContentsIntroduction: Performance as Anthropological Focus and Framework, Lauren Miller Griffith and David Syring; ; Part I: Histories, Theories, and Frameworks; 1. Body and Mind: The Making of the Anthropology of Performance, Anya Royce ; 2. In the Spirit of Experience, Reflexivity and Growth: Exploring the Ancestral Roots of Performance Anthropology, Pam Frese; 3. Performance & Aesthetics: Experiencing Expressive Events and Visual Arts, Helena Wulff; ; 4. Ritual as Performance, Bradd Shore; 5. Sport as Performance, Claire Conceison; 6. Weaving, Cloth, and Costumes as Vital Contributors to Performance, Andrea Heckman; 7. Ethnographic Comportment: A Performance-Based Framework for Research Design, Kwame Harrison; ; Part II: Performing as a Way of Knowing; ; 8. Anthropology and Laboratory Theatre: Opening Anthropological Orthopraxy to Different Ways of Knowing/Being, Caroline Gatt; 9. Miraculous Stories and the Re-enchantment of the World: Oral Hagiographies of Guru Bawa, Frank Korom; 10. Who’s Performing When the God Dancer Dances? Possession and Ritual Performance in South India, Sara Dickey; 11. Two Handed Ethnography: A Method for Performance Anthropology, Sara Delamont & Neil Stephens; 12. Traveling through Space-time in the Manaus Boi-bumbá, Marnie K Watson; 13. Construction with Varied Materials: Adventures in Global Performativity and Interconnection, Andrew Irving; ; Part III: Performance & Identity; 14. Propia de Saraguro: Performance in an Indigenous Andean Community Creating 21st Century Vitality, David Syring; 15. Music, Identity, and Performance in East Africa, Mwenda Ntarangi; 16. Embodied Cultural Knowledge in Practice: An Ethio-Modern Dance Case Study of የቡና ዓለም YeBuna Alem/A Coffee World, Ras Mikey Courtney; 17. Performed Identity: A Case Study in Irish Dance, Breandán de Gallaí; 18. Performing Women in Classic European Circuses, Julia Offen; 19. Performance in Practice: "American" Karate in the Heartland, Noah Johnson; ; 20. (Accidentally) Doing Whiteness: The Meanings of Performance in a Rural U.S. Music Scene, David Flood ; ; Part IV:: Performance and/as Cultural Critique; 21. Performance and Indigeneity: ‘Playing Indian’ in the Theater of Darkness, Bernard C. Perley; ; 22. On Trial: Law and the Performativity of True Stories, Laurie Frederik ; ; 23. Beyond the Stage: Anarcho-punks Performing Resistance in Bandung, Indonesia, Steve Moog; 24. On Carnivals and Capitalism: Performing Neoliberal Politics in Santiago, Dominican Republic, Sydney Hutchinson; 25. Egyptian Belly Dance IS Feeling: Intersubjectivity, Ṭarab, and Cross-Cultural Performance, Meg Morley; 26. #Capoeiristas for Black Lives: The Complementarity of Virtual and Embodied Performance Communities, Lauren Griffith ; ; Part V: The Future of Performance Anthropology; 27. Craftwork in Ethnographic Theater Making, Debra Vidali; 28. Performing the Past and the Present with an Eye to the Future: Optimizing the Potential of Land Acknowledgment Rituals to Help Ensure they Do No Harm, EJ Sobo, Valerie Lambert, and Michael Lambert; 29. Performance, Play and Resistance: Teaching and Learning at the Happiest Place on Earth, Stephanie Takaragawa; 30. A Sense-Able Partner, Andrea Conger; 31. Beyond the Aesthetically Neutral Body: Performing Disability Futures, Cassandra Hartblay; ; Appendix: Tools, Exercises, and Activities for the Anthropology of Performance; A Zone Approach to Studying the Social Implications of Performance; Lauren Miller Griffith and Evangeline Jiménez ; David Syring; Tuning in to Matizada: Attending to Micro-moments of Aesthetic Enculturation; Debra Vidali; Circle Warm Up ; Energizing Groups with Movement; Pass the Sound and Gesture; Name Passion; The Human Barometer; Human Statue Creation and Inquiry; Ras Mikey Cortney, Transmitting Embodied Knowledge of Traditional Ethiopian Dance; Andrea M. Heckman, Weaving, Cloth and Costumes as Vital Aspects of Performance ; Noah Johnson, Clothed in Practicalities; Andrea Conger, Voice-over Interviews; Cassandra Hartblay, Transposing Transcription Practice; Caroline Gatt, Defamiliarizing Reading; Helena Wulff, Writing Performance ; Julia Offen, Creative Ethnographic Prose: Guided Setting Exercise;

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Book SynopsisGlobal in scope and featuring thirty-five chapters from more than fifty dance, music, and theatre scholars and practitioners, The Routledge Companion to Musical Theatre introduces the fundamentals of musical theatre studies and highlights developing global trends in practice and scholarship.Investigating the who, what, when, where, why, and how of transnational musical theatre, The Routledge Companion to Musical Theatre is a comprehensive guide for those studying the components of musical theatre, its history, practitioners, audiences, and agendas. The Companion expands the study of musical theatre to include the ways we practice and experience musicals, their engagement with technology, and their navigation of international commercial marketplaces. The Companion is the first collection to include global musical theatre in each chapter, reflecting the musicalâs status as the worldâs most popul

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The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field. Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity â as the production of ideas, bodies and knowledges â in the arts and beyond. Comprising texts written by international artists, philosophers and scholars from multiple disciplines, the essays engage with questions of how performance thinks and how thought is performed in a wide range of philosophies and performances, from the ancient to the contemporary. Concepts and practices from diverse geographical regions and cultural traditions are analysed to draw conclusions about how

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Book SynopsisThis book considers David Hanson's robots as a performative expression of our cultural moment, serving as a paradigm for the evolution of humanoid social robots.Mechanical beings have occupied the human imagination since antiquity. Now, they inhabit the pop-cultural imagination, embodying the apotheosis of humanity's technological aspirations and dread. Sophia, Hanson's most advanced robot, anticipates the future as she articulates the mythic pattern, narrative, anxieties, and hopes as old as humanity. Gendered as an attractive female with a face inspired by Queen Nefertiti and Audrey Hepburn, Sophia is a cipher, avatar, and turning point that brings humanity and technology a step closer to the emergence of a post-human species. The author is a transdisciplinary artist/scholar/educator working internationally in experimental performance, indigenous performance (ritual, shamanism), and social robotics. Hanson's robots and Sophia are examined as performance media and events, as

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Book SynopsisTwenty-five years after the publication of A Dictionary of the Avant-Gardes, the distinguished critic and arts historian Richard Kostelanetz returns to his favorite subject for a third edition. Rewriting earlier entries, adding hundreds of new ones, Kostelanetz provides intelligence and information unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, he ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali, Johan Cruyff, and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Samuel Johnson and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a reference book to be enjoyed not only in bits and chunks, but continuously as one of the dozen books someone would take if they planned to be strandTrade Review"Bringing together a wealth of information on esthetic innovation, [A Dictionary of the Avant-Gardes] will make avant-garde art more accessible to everyone."-"Booklist "Dictionaries are not usually written for cover-to-cover reading; this one is. It is filled with fascinating people and images."-Mark Laiosa, WBAI-FM "Demonstrate[s] a unique subjectivity and distinctive flair without sacrificing quality...."-"Library Journal "A one-of-a-kind source. Nothing approaches the subject with such admirable verve."-"Wilson Library Bulletin Table of ContentsPrefaceIntroductionThe DictionaryBiographical Notes

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Book SynopsisThis study explores the formation, establishment, expansion, and disintegration of stage design as a modern profession and a recognized artform in Finnish theatres.Drawing on oral or written recollections and thoughts of stage designers from different decades, the author asks how their artistic agencies, occupational identities, and theoretical self-understanding have been constituted. She analyses Finnish theatre history from new perspectives by shifting the focus from finished performances to largely unknown practices behind the scenes. This book examines the cultural institutions that have constituted the stage designers' role and position, like the professional city theatre system, the craft union, and education. This research shows how modern and postmodern scenographic innovations have been assimilated to local contexts, and how material and cultural circumstances have reshaped the artistic practices. Without bypassing canonical trendsetters or hegemonic cultural mindse

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Book SynopsisGeographies of Us: Ecosomatic Essays and Practice Pages is the first edited collection in the field of ecosomatics.With a combination of essays and practice pages that provide a variety of scholarly, creative, and experience-based approaches for readers, the book brings together both established and emergent scholars and artists from many diverse backgrounds and covers work rooted in a dozen countries. The essays engage an array of crucial methodologies and critical/theoretical perspectives, including practice-based research in the arts, especially in performance and dance studies, critical theory, ecocriticism, Indigenous knowledges, material feminist critique, quantum field theory, and new phenomenologies. Practice pages are shorter chapters that provide readers a chance to engage creatively with the ideas presented across the collection. This book offers a multidisciplinary perspective that brings together work in performance as research, phenomenology, and dance/

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Book SynopsisThis book provides scholars and non-specialists alike with a roadmap for effectively conducting culturally aware, historically relevant research on African dance and on any dance style that contains African elements.This book explains why Western research paradigms are inadequate for research on Africana dance. It exposes the value of utilizing an appropriate research paradigm that offers researchers a broader perspective and a transparent, unfettered process for analysis in under-researched topics such as African and African diaspora dance styles. Researchers are introduced to the African dance aesthetic, characteristically African body movements, definitions of steps, understandings within African culture, and a host of other jewels that facilitate a deeper grasp on the subject and refine the quality of the scholarâs research, its findings, and its proficiency.This book will be of great interest to scholars of African dance studies.Table of ContentsList of illustrationsAcknowledgmentsPreface1 Performative practices and documentation through an African lens: An introduction2 Overview of African culture and its reflection on dance3 Identifying African dance body movements4 Application of the Afrikinesis paradigm5 A synergistic union: Afrikinesis and African dance researchAppendixQuick reference glossary BibliographyIndex

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Book SynopsisStages of Engagement is a compelling and wonderfully varied account of the relationship between theatre in the United States and the social, cultural, and political forces that shaped it during one of the most formative periods in the nationâs history.Joshua E. Polster applies key thematic perspectives â Colonialism, Religion, Race and Ethnicity, Gender and Sexuality, Economic Systems, and Systems of Government â to seminal moments in US history. In doing so he explores the ways in which the theatre has responded to these turning points, through the work of some of its principal dramatists, directors, designers, and theatre companies.His approach tackles questions such as:â How did the plays of this period reflect the nationâs concerns and anxieties?â How did theatre, culture, and politics interconnect as the United States took to the world stage?â Which critical viewpoints are most useful to us when examining these cultural phenomena?Trade ReviewStages of Engagement and its companion text, The Routledge Anthology of Drama 1898 – 1949 would serve as excellent text resources for courses in American Drama or for continued exploration of this topic by researchers.- Steve Earnest, The Journal of American Drama and Theatre ‘This useful, aptly titled compilation of essays is engaging reading for those seeking to better understand the forces that contributed to early-20th-century performance—among them colonialism; religion, race, and ethnicity; gender and sexuality; and economic and government systems…Polster includes contributions of other authors to give readers a different valence on allied subjects. For example, his excellent account of how Susan Glaspell’s Trifles utilized the testimony of an actual criminal trial is paralleled by Susan Abbotson's fascinating study of Mae West’s legal imbroglios with her own playwriting. Polster's examination is most welcome…Summing Up: Recommended.’ - M. K. Hunter, University of Portland, October 2016, CHOICE"Stages of Engagement is ambitious, claiming to incorporate major thematic approaches including colonialism, religion, race, gender, and economics, among others, over a fifty-year period in U.S. theatre [...] it lives up to this goal."- Elizabeth A. Osborne, Florida State University, A Journal of Theatre and Performance of the AmericasTable of ContentsIntroduction 1. “Setting the Stage: War and Empire” 2. “The Pan-American Exposition and Tragedy Onstage” U.S. Immigration, Ethnic Theatres, and Vaudeville, by Stuart Hecht 3. “Gendered Spaces: Law and Justice in Susan Glaspell’s Trifles” The Sexual Revolution and Broadway, by Sue Abbotson 4. A New Approach to Revolution: Artef and Hirsch Leckert in the Third Period The Theatre of War: The Rise of Fascism, Anti-War and Interventionist Theatre, by Jim Fisher 5. Salesman and the 1930s Theatres of Social Protest

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Book SynopsisThe Routledge Companion to Theatre, Performance and Cognitive Science integrates key findings from the cognitive sciences (cognitive psychology, neuroscience, evolutionary studies and relevant social sciences) with insights from theatre and performance studies. This rapidly expanding interdisciplinary field dynamically advances critical and theoretical knowledge, as well as driving innovation in practice. The anthology includes 30 specially commissioned chapters, many written by authors who have been at the cutting-edge of research and practice in the field over the last 15 years. These authors offer many empirical answers to four significant questions: How can performances in theatre, dance and other media achieve more emotional and social impact? How can we become more adept teachers and learners of performance both within and outside of classrooms? What can the cognitive sciences reveal about the natuTable of ContentsGeneral Introduction Bruce McConachie Part I: Artistry Introduction Rick Kemp Stanislavsky’s prescience: The conscious self in the system and Active Analysis as a theory of mind Sharon Marie Carnicke The improviser’s lazy brain: improvisation and cognition Gunter Lösel Devising – embodied creation in distributed systems Rick Kemp Embodied cognition and Shakespearean performance Darren Tunstall The remains of ancient action: Understanding affect and empathy in Greek drama Peter Meineck Minding implicit constraints in dance improvisation Pil Hansen Applying developmental epistemic cognition to theatre for young audiences Jeanne Klein 4E cognition for directing: Thornton Wilder’s Our Town and Caryl Churchill’s Light Shining in Buckinghamshire Rhonda Blair Acting and Emotion Vladimir Mirodan Part II: Learning Introduction Bruce McConachie Improvising communication in Pleistocene performances Bruce McConachie Ritual transformation and transmission David Mason Communities of gesture: Empathy and embodiment in Bill T. Jones/Arnie Zane Dance Company’s 100 Migrations Ariel Nereson Creative storytelling, crossing boundaries, high-impact learning and social engagement Nancy Kindelan From banana phones to the bard: The developmental psychology of acting Thalia R. Goldstein 'I'm giving everybody notes using his body': Framing actors’ observation of performance Claire Syler Acting technique, Jacques Lecoq, and embodied meaning Rick Kemp Part III: Scholarship Introduction Bruce McConachie Systems theory, enaction and performing arts Gabriele Sofia Watching movement: Phenomenology, cognition, performance Stanton B. Garner, Jr. Attention to theatrical performances James Hamilton Emergence, meaning and presence: An interdisciplinary approach to a disciplinary question Amy Cook Relishing performance: Rasa as participatory sense-making Erin B. Mee The self, ethics, agency and tragedy David Palmer Aesthetics and the sensible John Lutterbie Talk this dance: On the conceptualization of dance as fictive conversation Ana Margarida Abrantes and Esther Pascual Distributed cognition: Studying theatre in the wild Evelyn Tribble and Robin Dixon Part IV: Translational Applications Introduction Rick Kemp A theatrical intervention to lower the risk of Alzheimer’s and other forms of dementia Tony and Helga Noice The Performance of Caring: Theatre, empathetic communication and healthcare Rick Kemp and Rachel DeSoto-Jackson Awareness performing: Practice and protocol Experience Bryon Imagining the ecologies of autism Melissa Trimingham and Nicola Shaughnessy Toward consilience: Integrating performance history with the coevolution of our species Bruce McConachie

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Book SynopsisTheatrocracy is a book about the power of the theatre, how it can affect the people who experience it, and the societies within which it is embedded. It takes as its model the earliest theatrical form we possess complete plays from, the classical Greek theatre of the fifth century BCE, and offers a new approach to understanding how ancient drama operated in performance and became such an influential social, cultural, and political force, inspiring and being influenced by revolutionary developments in political engagement and citizen discourse. Key performative elements of Greek theatre are analyzed from the perspective of the cognitive sciences as embodied, live, enacted events, with new approaches to narrative, space, masks, movement, music, words, emotions, and empathy. This groundbreaking study combines research from the fields of the affective sciences the study of human emotions  including cognitive theory, neuroscience, psychology, artificial intelligence, psychTrade ReviewThis is an exhilarating read, a feast of ideas for those with an interest in the cognitive and emotional power of Greek drama. Peter Meineck uses his knowledge as an academic in Classics, his experience as a theatre practitioner and recent research into the cognitive sciences to rethink Aristotle’s Poetics with an eye to the experience of Greek drama in performance. It is only appropriate that a book grounded in cognitive theory, cultural neuroscience and psychology should change the way you think and feel about Greek drama. Peter Meineck's book succeeds on both accounts. As a researcher it has changed the way I think about the emotional and cognitive experience of Greek tragedy in ancient and modern performances; as a lecturer it will influence the way I teach Greek drama to my students in years to come. - Sarah Miles, Durham University, UKTable of ContentsAcknowledgementsIntroduction: theatre as mimetic mindChapter 1 – Muthos: probability and predictionChapter 2 – Opsis: the embodied viewChapter 3 – Ethos: the character of catharsisChapter 4 – Dianoia: intention in actionChapter 5 – Melos: music and the mindChapter 6 – Lexis: somatosensory wordsChapter 7 – Metabasis: dissociation and democracyIndex

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Since its original publication in 1996, Marvin Carlson''s Performance: A Critical Introduction has remained the definitive guide to understanding performance as a theatrical activity. It is an unparalleled exploration of the myriad ways in which performance has been interpreted, its importance to disciplines from anthropology to linguistics, and how it underpins essential concepts of human society. In this comprehensively revised and updated third edition, Carlson tackles the pressing themes and theories of our age, with expanded coverage of : the growth and importance of racial and ethnic performance; the emergence of performance concerned with age and disability; the popularity and significance of participatory and immersive theatre; the crucial relevance of identity politics and cultural performance in the twenty-first century. Also including a fully updated bibliography and glossary, th

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Book SynopsisThe third edition of Pamela Howard's What is Scenography? expands on the author's holistic analysis of scenography as comprising space, text, research, art, performers, directors and spectators, to examine the changing nature of scenography in the twenty-first century.The book includes new investigations of recent production projects from Howard's celebrated career, including Carmen and Charlotte: A Tri-Coloured Play with Music, full-colour illustrations of her recent work and updated commentary from a wide spectrum of contemporary theatre makers.This book is suitable for students in Scenography and Theatre Design courses, along with theatre professionals. Table of ContentsPart 1: 1 Space 2 Text 3 Research 4 Colour and Composition 5 Direction 6 Performers 7 Spectators Part 2: 1 Charlotte: A Tri-Coloured Play with Music 2 Carmen 3 The Excursions of Mr Brouček 4 Šarlatán 5 The New Jerusalem

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Book SynopsisThe third edition of Pamela Howard's What is Scenography? expands on the author's holistic analysis of scenography as comprising space, text, research, art, performers, directors and spectators, to examine the changing nature of scenography in the twenty-first century.The book includes new investigations of recent production projects from Howard's celebrated career, including Carmen and Charlotte: A Tri-Coloured Play with Music, full-colour illustrations of her recent work and updated commentary from a wide spectrum of contemporary theatre makers.This book is suitable for students in Scenography and Theatre Design courses, along with theatre professionals. Table of ContentsPart 1: 1 Space 2 Text 3 Research 4 Colour and Composition 5 Direction 6 Performers 7 Spectators Part 2: 1 Charlotte: A Tri-Coloured Play with Music 2 Carmen 3 The Excursions of Mr Brouček 4 Šarlatán 5 The New Jerusalem

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Book SynopsisThis volume offers a concise guide to the teaching and philosophy of one of the most significant figures in twentieth century actor training. Jacques Lecoq''s influence on the theatre of the latter half of the twentieth century cannot be overestimated.Now reissued Jacques Lecoq is the first book to combine: an historical introduction to his life and the context in which he worked an analysis of his teaching methods and principles of body work, movement, creativity, and contemporary theatre detailed studies of the work of Theatre de Complicite and Mummenschanz practical exercises demonstrating Lecoq''s distinctive approach to actor training.  Table of ContentsTHE LIFE OF JACQUES LECOQ Jacques Lecoq (1921–99) Jacques Lecoq: actor, director and teacher Jacques Lecoq and the Western tradition of actor training Jacques Lecoq: the body and culture Summary and conclusion THE TEXTS OF JACQUES LECOQ Lecoq’s pedagogy: from practice to principles (and back) Acting for the theatre of the future End words TRACES OF JACQUES LECOQ: THÉ TRE DE COMPLICITÉ’S STREET OF CROCODILES AND THE WORK OF MUMMENSCHANZ The case of Théâtre de Complicité The Street of Crocodiles The case of Mummenschanz PRACTICAL EXERCISES Aims Background and context Approach Preparatory exercises I push . . . I pull: towards the dynamics of melodrama I am pushed . . . I am pulled: towards the dynamics of tragedy I push myself . . . I pull myself: towards the dynamics of commedia dell’arte Debrief CONCLUSION

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Book SynopsisTwenty-five years after the publication of A Dictionary of the Avant-Gardes, the distinguished critic and arts historian Richard Kostelanetz returns to his favorite subject for a third edition. Rewriting earlier entries, adding hundreds of new ones, Kostelanetz provides intelligence and information unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, he ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali, Johan Cruyff, and the Harlem Globetrotters and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Samuel Johnson and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a reference book to be enjoyed not only in bits and chunks, but continuously as one of the dozen books someone would take if they planned to be strandTrade Review"Bringing together a wealth of information on esthetic innovation, [A Dictionary of the Avant-Gardes] will make avant-garde art more accessible to everyone."-"Booklist "Dictionaries are not usually written for cover-to-cover reading; this one is. It is filled with fascinating people and images."-Mark Laiosa, WBAI-FM "Demonstrate[s] a unique subjectivity and distinctive flair without sacrificing quality...."-"Library Journal "A one-of-a-kind source. Nothing approaches the subject with such admirable verve."-"Wilson Library Bulletin Table of ContentsPrefaceIntroductionThe DictionaryBiographical Notes

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Book SynopsisFor this American edition of his legendary arts dictionary of information and opinion, the distinguished critic and arts historian Richard Kostelanetz has selected from the fuller third edition his entries on North Americans, including Canadians, Mexicans, and resident immigrants. Typically, he provides intelligence unavailable anywhere else, no less in print than online, about a wealth of subjects and individuals. Focused upon what is truly innovative and excellent, Kostelanetz also ranges widely with insight and surprise, including appreciations of artistic athletes such as Muhammad Ali and the Harlem Globetrotters, and such collective creations as Las Vegas and his native New York City. Continuing the traditions of cheeky high-style Dictionarysts, honoring Ambrose Bierce and Nicolas Slonimsky (both with individual entries), Kostelanetz offers a reference book to be treasured not only in bits and chunks, but continuously as one of the ten books someone would take if Table of ContentsForeword to the American EditionPrefaceIntroductionThe DictionaryBiographical Notes

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Book SynopsisThe Routledge Companion to African American Theatre and Performance is an outstanding collection of specially written essays that charts the emergence, development, and diversity of African American Theatre and Performancefromthe nineteenth-century African Grove Theatre to Afrofuturism. Alongside chapters from scholars are contributions from theatre makers, including producers, theatre managers, choreographers, directors, designers, and critics. This ambitious Companion includes:A Timeline of African American theatre and performance.Part I Seeing ourselves onstage explores the important experience of Black theatrical self-representation. Analyses of diverse topics including historical dramas, Broadway musicals, and experimental theatre allow readers to discover expansive articulations of Blackness.Part II Institution building highlights institutionsTable of ContentsList of Figures Editor/Contributor Biographies Black Art Now by Nambi E. Kelley Introduction: Renee Alexander Craft, Thomas F. DeFrantz. Kathy A. Perkins, and Sandra L. Richards. Part I: Highlights of African American Theatre and Performance Part II: Seeing Ourselves Onstage Part III: Institution Building: Making a Space of OUR Own Part IV: Theatre and Social Change Part V: Expanding the Traditional Stage Index

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Book SynopsisReissuing works originally published between 1933 and 1993, Routledge Library Editions: Shakespeare in Performance offers a selection of scholarship on the Bard''s work on stage. Classic previously out-of-print works are brought back into print here in this small set of performance history and criticism.

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Book SynopsisPerformed Ethnography and Communication explores the relationships between these three key terms, addressing the impact of ethnography and communication on the cutting edge of performance studies. Ranging from digital performance, improvisation and the body, to fieldwork and staged collaboration, this volume is divided into two main sections: Embodied technique and practice, which addresses improvisation, devised theatre-making, and body work to consider what makes bodies move, sound, behave, mean, or appear differently, and the effects of these differences on performance; Oral history and personal narrative performance, which is concerned with the ways personal stories and histories might be transformed into public events, looking at questions of perspective, ownership, and reception. Including specific historical and theoretical case studies, exercises and activities, and practical applications for improvisation, ethnograpTable of ContentsList of figuresAcknowledgmentsPrologueIntroductionPART 1 Embodied technique and practiceChapter 1 Embodied technique and practice Technique Practice Interview with Ben Spatz Examples of technique and practice Case study one: Digital Portobelo with Renee Alexander Craft Chapter 2 Improvisation The inherited body we bring to performance practice Key concepts in improvisational acting and performance Examples Chapter 3 Devised theatre Ethnographic data and process Suggested stages for devised performance In summary Interview with Honey Pot Performance Case study two: the digital in dialogic performance across two continents Chapter 4 Movement and scenes of body work Warm-up improvisations for neutral mask Efforts and factors from Laban/Bartenieff Improvisation exercises for efforts and factors Improvisational exercises for BESS The 5Rhythms from Gabrielle Roth Augusto Boal and Newspaper Theatre PART 2 Oral history and personal narrative performanceChapter 5 The value of oral history and life story Who owns the story? Interview with E. Patrick Johnson Oral history as permission, public pedagogy, and provocation On truth Chapter 6 The narrative/narrated event and the anatomy of emotion The narrative event The narrated event Case study three: holograms in a live staging of history: Triangle Shirtwaist Factory fire Chapter 7 Anatomy of emotion: the brain, performance, and oral history Proprioception Mirror neurons and simulation theory Chapter 8 Performing oral history and life stories Solo performance Exercises Chapter 9 Viewpoints in rehearsal Examples Selected viewpoints for oral history and performance Case study four: the storyteller's magnified embodiments in real-time telling Chapter 10 Jerzy Grotowski's plastiques and Viola Spolin's speech and sound The brain of the body and the body of the brain Interview with Stephen Wangh Examples Epilogue: the intermix of performance, ethnography, and communicationAppendix: illustration of creativity and the brainBibliographyIndex

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Book SynopsisIn What a Body Can Do, Ben Spatz develops, for the first time, a rigorous theory of embodied technique as knowledge. He argues that viewing technique as both training and research has much to offer current debates over the role of practice in the university, including the debates around practice as research. Drawing on critical perspectives from the sociology of knowledge, phenomenology, dance studies, enactive cognition, and other areas, Spatz argues that technique is a major area of historical and ongoing research in physical culture, performing arts, and everyday life.Trade Review"Ben Spatz’ examination of concepts of technique and practice in embodied knowledge is a richly rewarding read, both for its rigorous discussion and clarification of ideas which can often be confused and confusing, and for its thought-provoking analysis of a range of examples." --Susie Crow, Oxford Dance WritersTable of ContentsCONTENTSForeword ixJOSEPH ROACHAcknowledgements xiIntroduction: What Can a Body Do? 1A body can … 1Five stories 5From performance to practice 9Embodiment and sustainability 11Methodology and chapters 141 An epistemology of practice 23Which epistemology? 23A selective genealogy of technique 26The structure of practice 38Branches and pathways 44Linguistic peninsulas 48Sedimented agency 50The trope of excess 56Research in embodied technique 60The problem of the substrate 642 The invention of postural yoga 73Yoga and physical culture 73A royal success 75The yoga wars 80Healthism and “performance” 83Two studios in the East Village 86The gendering of yoga 92Between athletics and somatics 95A therapeutic turn 100What is physical education? 1043 Actors without a theatre 113Craft and presence 113Beyond “actor training” 117Stanislavski’s threshold 122The method of physical actions 129Grotowski’s legacy 132Songs and other epistemic objects 136A research culture in acting 147Interdisciplinarities 153Laboratories 1634 Gender as technique 171How to slice a cheese 171Research in everyday life 175The problem of sexual difference 179Fracturing the feminine 186Masculinities 191Identity and inertia 197Current research in gender 203New paradigms 2095 Embodied research in the university 217Blue skies? 217The epistemic impulse 221“Practice as Research” 225The archive and epistemic distance 234Research design and methodology 242The fourth division 247Bibliography 253Index 275

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Book SynopsisBlack Acting Methods seeks to offer alternatives to the Euro-American performance styles that many actors find themselves working with. A wealth of contributions from directors, scholars and actor trainers address afrocentric processes and aesthetics, and interviews with key figures in Black American theatre illuminate their methods. This ground-breaking collection is an essential resource for teachers, students, actors and directors seeking to reclaim, reaffirm or even redefine the role and contributions of Black culture in theatre arts. Chapter 7 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.Table of ContentsOrder of OfferingsFOREWORD: The Blessing by Molefi Kete AsanteACKNOWLEDGEMENTS INTRODUCTION: The Affirmation by Sharrell D. Luckett and Tia M. ShafferMethods of Social ActivismOFFERING 1 The Hendricks Method Sharrell D. Luckett and Tia M. ShafferOFFERING 2 SoulWorkCristal Chanelle TruscottOFFERING 3 Nudging the Memory-Creating Performance with the Medea Project: Theatre for Incarcerated Women Rhodessa Jones OFFERING 4 Art Saves Lives: Rebecca Rice and the Performance of Black Feminist Improv for Social Change Lisa Biggs Methods of InterventionOFFERING 5 Seeing Shakespeare through Brown Eyes Justin EmekaOFFERING 6 Ritual Poetic Drama Within the African Continuum:the journey from Shakespeare to ShangeTawnya Pettiford-Wates OFFERING 7 Remembering, Rewriting, and Re-Imagining: Afrocentric Approaches to Directing New Work for the TheatreClinnesha Sibley Methods of Cultural PluralityOFFERING 8 The Hip Hop Theatre Initiative: We the ‘Griot’Daniel Banks OFFERING 9 Kadogo Mojo: Global Crossings in the TheatreAku KadogoOFFERING 10 #Unyielding Truth: Employing Culturally Relevant PedagogyKashi Johnson and Daphnie SicreReflections from Distinguished PractitionersOFFERING 11 Rituals, Processes, and/or Methods from Distinguished PractitionersJudyie Al-Bilali, Timothy Bond, Sheldon Epps, Shirley Jo Finney, Nataki Garrett, Anita Gonzalez, Paul Carter Harrison, Robbie McCauley,Seret Scott, Tommie ‘Tonea’ Stewart, Talvin WilksOFFERING 12 Words of Wisdom from Distinguished PractitionersJudyie Al-Bilali, Timothy Bond, Walter Dallas, Sheldon Epps, Shirley Jo Finney, Kamilah Forbes, Nataki Garrett, Anita Gonzalez, Paul Carter Harrison, Ron Himes, Kym Moore, Seret Scott, Talvin WilksAPPENDIX: Recommendations for Acting/Performance Programs that Seek to Provide Equitable Training END NOTESLIST OF CONTRIBUTORSINDEX

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Book Synopsis''Everyone''s an abyss. You get dizzy if you look down.'' -- WoyzeckGeorg Büchner's Woyzeck was left unfinished at the time of its author's death in 1837, but the play is now widely recognised as the first modern' drama in the history of European theatre. Its fragmentary form and critical socio-political content have had a lasting influence on artists, readers and audiences to this day. The abuse, exploitation, and disenfranchisement that Woyzeck's titular protagonist endures find their mirror in his own murderous outburst. But beyond that, they also echo in the flux and confusion of the various drafts and versions in which the play has been presented since its emergence.In this fresh engagement with a modern classic, Gritzner examines the revolutionary dimensions of Büchner's political and creative practice, as well as modern approaches to the play in performance.Table of Contents1 Woyzeck the open wound2 History, politics, tragedy3 The fragmentary demand4 Woyzeck in performanceReferences Index

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Book SynopsisRitual has long been a central concept in anthropological theories of religious transmission. Ritual, Performance and the Senses offers a new understanding of how ritual enables religious representations - ideas, beliefs, values - to be shared among participants.Focusing on the body and the experiential nature of ritual, the book brings together insights from three distinct areas of study: cognitive/neuroanthropology, performance studies and the anthropology of the senses. Eight chapters by scholars from each of these sub-disciplines investigate different aspects of embodied religious practice, ranging from philosophical discussions of belief to explorations of the biological processes taking place in the brain itself. Case studies range from miracles and visionary activity in Catholic Malta to meditative practices in theatrical performance and include three pilgrimage sites: the Church of the Holy Sepulchre in Jerusalem, the festival of Ramlila in Ramnagar, India and the mountain shriTrade Review"Bull and Mitchell provide a truly thought-provoking collection of essays by renowned authors widely influential in the fields of performance studies, sensory/sound studies, and cognitive neuroscience/neurophysics. It is a must-read for all interested in ritual plain and simple as well as for all interested in the complex interplay of cognition, senses, and performance. - Reading Religion This is an excellent collection of articles that are both theoretically and empirically rich and offer innovative approaches to long-standing concepts. - Religion and Society: Advances in Research The book is highly recommendable to anthropologists working on all fields ... It provides a productive entry into debates that will probably shape the future of our discipline as it moves beyond the constraints of a 'science of culture'. - Anthropos [This] book has been carefully curated to ensure that the points of interest ... speak to readers from across the fields of performance studies, anthropology, neuroanthropology and beyond. - HARTS & Minds"Table of ContentsIntroductionJon P. Mitchell and Michael Bull, University of Sussex, UKRitual Action Shapes Our Brains: an Essay in NeuroanthropologyRobert Turner, Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, GermanyPlace-making in the 'Holy of Holies': the Church of the Holy Sepulchre, JerusalemTrevor Marchand, School of Oriental and African Studies, UKThe Importance of Repetition: Ritual as Extension of MindGreg Downey, Macquarie University, AustraliaDivine Intervention: Ontology, Cognition and Performance in Maltese Visionary PhenomenaJon P. Mitchell, University of Sussex, UKMaking 'Sense' in Embodied/Enactive Modes of Actor Training and PerformancePhilip Zarrili, University of Exeter, UKRamlila and SpaceRichard Schechner, Tisch School of the Arts, NYU, USAExploring the Andean Sensory Model: Knowledge, Memory and the Experience of PilgrimageZoila Mendoza, University of California, Davis, USASensation and TransmissionDavid Howes, Concordia University, CanadaAfterwordSarah Pink, Loughborough University, UKBibliographyIndex

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Book SynopsisPlautus was Ancient Rome's greatest comic playwright, Shakespeare drew heavily on his plots, and his legacy is prevalent throughout modern drama. In this expanded edition of his successful book, one of America's foremost Classical scholars introduces performance criticism to the study of Plautus' ancient drama. In addition to the original detailed studies of six of the dramatists's plays, the methodology of performance criticism, the use of conventions, and the nature of comic heroism in Plautus, this edition includes new studies on:* the induction into the world of the play* the scripted imitation of improvisation* Plautus's comments on his previous work* the nature of 'tragicomedy'.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book Synopsis

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisMartin Iddon's book is the first volume to collect John Cage's complete correspondence with his closest collaborator, the pianist David Tudor. Iddon tackles the question of how much creative flexibility Tudor was granted when performing Cage's notorious indeterminate and chance-guided works, from Music of Changes to Variations II.Trade Review'… one is impressed by both Tudor's commitment and Iddon's persistence … Recommended. Upper-level undergraduates and above; general readers.' J. Behrens, ChoiceTable of Contents1. The music of chance; 2. Correspondence, 1951–3; 3. Determining the determinate; 4. Determining the indeterminate; 5. Correspondence, 1958–62; 6. (In)determining the indeterminate; 7. Correspondence, 1965–89; 8. 'Late' realizations; 9. Praxis and poiesis in indeterminate music.

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Book SynopsisAn inspiring speaker and artist asked 20,000 people around the world to share the regrets they wanted him to burn in a mock Viking ship.Trade Review“Wise, funny, and surprisingly poignant, this book teaches us the most important lesson there is: how to be a better human being.” — Bob Goff, New York Times bestselling author of Dream Big and Live in Grace “A hilarious, wise, and inspiring roadmap for life. Kyle Scheele bravely bares his own vulnerabilities to show us that what we reject most in ourselves are often the very things that connect us all as humans.” — Qian Julie Wang, New York Times bestselling author of Beautiful Country “With humor, heart, and a whole lot of cardboard, Kyle Scheele delivers a blast of creative inspiration. Here we have something truly special - a reminder that we each already have the materials needed to live a life packed with beauty and joy.” — Brad Montague, New York Times bestselling author and illustrator of The Circles All Around Us “Scheele has written a love letter to those of us who struggle through the painful and seemingly endless process of moving on. Scheele gave me permission to celebrate the journey, with its highs and lows, and start a new adventure with nothing left to carry but the hope of what lies ahead.” — Hugh Weber, CEO of The Great Discontent "This book reads like it was written by someone who is 100 years old because Kyle has packed so much life into such a short time frame. I can't wait to see what you do after you read this manifesto for the beauty of crazy ideas." — Jon Acuff, New York Times bestselling author of Soundtracks: the Surprising Solution to Overthinking “'No regrets’ is a cliché for a reason: we hate facing our shortcomings! I didn’t think it was possible, but Kyle Scheele makes this important inner work not just easy, but hilarious! The sugary goodness of his storytelling makes this medicine an actual treat.” — Andy J. Pizza, host of Creative Pep Talk podcast “Like John Baldessari, who decided to cremate all his ‘bad art’ and start over, cardboard master and motivational speaker Kyle Scheele shows readers that they really can “burn it all down.” Get this book so you can learn to set your old life on fire before it burns you out.” — Austin Kleon, New York Times bestselling author of Steal Like an Artist

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Book SynopsisHow visual art has been enriched by dance, and dance has been shaped by art, in unprecedented and exciting ways for the past fifty years.Move. Choreographing You explores the interaction between visual art and dance since the 1960s. This beautifully illustrated book, published in connection with a major exhibition, focuses on visual artists and choreographers who create sculptures and installations that direct the movements of audiences—making them dancers and active participants. Move shows that choreography is not merely about the notation of movement on paper or in film but about the ways the body inhabits sculpture and installations.The book documents some of the diverse but interconnected ways that visual art and choreography have come together over the past fifty years. Among the artists whose work helped to forge the art-dance connection are Allan Kaprow, Robert Morris, Lygia Clark, Bruce Nauman, Trisha Brown, Simone Forti, Franz West, Mike Kelley, Isaac J

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